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Plantation-era Songs
A work song is a piece of music closely connected to a form of work, either sung while conducting a task (usually to coordinate timing) or a song linked to a task which might be a connected narrative, description, or protest song. Definitions and categories Records of work songs are as old as historical records, and anthropological evidence suggests that most agrarian societies tend to have them. Most modern commentators on work songs have included both songs sung while working as well as songs about work since the two categories are seen as interconnected. Norm Cohen divided collected work songs into domestic, agricultural or pastoral, sea shanties, African-American work songs, songs and chants of direction, and street cries. Ted Gioia further divided agricultural and pastoral songs into hunting, cultivation and herding songs, and highlighted the industrial or proto-industrial songs of Textile industry, cloth workers (see Waulking song), factory workers, Sailor, seamen, lumberjack ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sea Shanties
A sea shanty, chantey, or chanty () is a genre of traditional Folk music, folk song that was once commonly sung as a work song to accompany rhythmical labor aboard large Merchant vessel, merchant Sailing ship, sailing vessels. The term ''shanty'' most accurately refers to a specific style of work song belonging to this historical Musical repertoire, repertoire. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general. From Latin ''cantare'' via French ''chanter'', the word ''shanty'' emerged in the mid-19th century in reference to an appreciably distinct genre of work song, developed especially on merchant vessels, that had come to prominence in the decades prior to the American Civil War although found before this. Shanty songs functioned to synchronize and thereby optimize labor, in what had then become larger vessels having smaller crews and o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Buttermilk
Buttermilk is a fermented dairy drink. Traditionally, it was the liquid left behind after churning butter out of cultured cream. As most modern butter in western countries is not made with cultured cream but uncultured sweet cream, most modern buttermilk in western countries is cultured separately. It is common in warm climates where unrefrigerated milk sours quickly. Buttermilk can be drunk straight, and it can also be used in cooking. In making soda bread, the acid in buttermilk reacts with the raising agent, sodium bicarbonate, to produce carbon dioxide which acts as the leavening agent. Buttermilk is also used in marination, especially of chicken and pork. Traditional buttermilk Originally, buttermilk referred to the liquid left over from churning butter from cultured or fermented cream. Traditionally, before the advent of homogenization, the milk was left to sit for a period of time to allow the cream and milk to separate. During this time, naturally occurring lact ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Field Hollers
The field holler or field call is mostly a historical type of vocal work song sung by field slaves in the United States (and later by African American forced laborers accused of violating vagrancy laws) to accompany their tasked work, to communicate usefully, or to vent feelings. It differs from the collective work song in that it was sung solo, though early observers noted that a holler, or ‘cry’, might be echoed by other workers. Though commonly associated with cotton cultivation, the field holler was also sung by levee workers, and field hands in rice and sugar plantations. Field hollers are also known as corn-field hollers, water calls, and whoops. An early description is from 1853 and the first recordings are from the 1930s. The holler is closely related to the call and response of work songs and arhoolies. The Afro-American music form ultimately influenced strands of African American music, such as the blues and thereby rhythm and blues, as well as negro spirituals. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blues
Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture. The blues form is ubiquitous in jazz, rhythm and blues, and rock and roll, and is characterized by the call-and-response pattern (the blues scale and specific chord progressions) of which the twelve-bar blues is the most common. Blue notes (or "worried notes"), usually thirds, fifths or sevenths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current str ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gospel Music
Gospel music is a traditional genre of Christian music, and a cornerstone of Christian media. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music is characterized by dominant vocals and strong use of harmony with Christian lyrics. Gospel music can be traced to the early 17th century. Hymns and sacred songs were often repeated in a call and response fashion, heavily influenced by ancestral African music. Most of the churches relied on hand-clapping and foot-stomping as rhythmic accompaniment. Most of the singing was done a cappella.Jackson, Joyce Marie. "The changing nature of gospel music: A southern case study." ''African American Review'' 29.2 (1995): 185. Academic Search Premier. EBSCO. Web. October 5, 2010. The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christianity
Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. It is the world's largest and most widespread religion with roughly 2.38 billion followers representing one-third of the global population. Its adherents, known as Christians, are estimated to make up a majority of the population in 157 countries and territories, and believe that Jesus is the Son of God, whose coming as the messiah was prophesied in the Hebrew Bible (called the Old Testament in Christianity) and chronicled in the New Testament. Christianity began as a Second Temple Judaic sect in the 1st century Hellenistic Judaism in the Roman province of Judea. Jesus' apostles and their followers spread around the Levant, Europe, Anatolia, Mesopotamia, the South Caucasus, Ancient Carthage, Egypt, and Ethiopia, despite significant initial persecution. It soon attracted gentile God-fearers, which led to a departure from Jewish customs, and, a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spirituals
Spirituals (also known as Negro spirituals, African American spirituals, Black spirituals, or spiritual music) is a genre of Christian music that is associated with Black Americans, which merged sub-Saharan African cultural heritage with the experiences of being held in bondage in slavery, at first during the transatlantic slave trade and for centuries afterwards, through the domestic slave trade. Spirituals encompass the "sing songs," work songs, and plantation songs that evolved into the blues and gospel songs in church. In the nineteenth century, the word "spirituals" referred to all these subcategories of folk songs. While they were often rooted in biblical stories, they also described the extreme hardships endured by African Americans who were enslaved from the 17th century until the 1860s, the emancipation altering mainly the nature (but not continuation) of slavery for many. Many new derivative music genres emerged from the spirituals songcraft. Prior to the end of the U ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Call-and-response
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. This form is also used in music, where it falls under the general category of antiphony. African cultures In some African cultures, call-and-response is a widespread pattern of democratic participation—in public gatherings, in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression (see call and response in music). African bondsmen and bondswomen in the Americas continued this practice over the centuries in various forms of expression—in religious observance; public gatherings; even in children's rhymes; and, most notably, in music in its multiple forms: blues, gospel, rhythm and blues, soul, jazz, hip-hop and go-go. Many work songs sung on plantations by enslaved men and women also incorporate the call and response format. African-American Women Work Son ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
African-American Women Work Songs
Origins A work song is a song that is sung while doing labor or any kind of work. Usually the song aids in keeping rhythm or used as a distraction. Work songs can include content focused around the surrounding environment, resistance, or protest. Many different groups throughout history have sung work songs. Enslaved African-American women had a unique history associated with work songs. Their work songs portrayed their specific standpoint and experiences during the slavery period in the United States. Work songs were often derived from traditional African songs. Many work songs were in the format of a call and response, which fostered dialogue. The importance of dialogue is illuminated in many African-American traditions and continues to the present day. Particular to the African call and response tradition is the overlapping of the call and response. The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lucy McKim Garrison
Lucy McKim Garrison (October 30, 1842 – May 11, 1877) was an American song collector and co-editor of ''Slave Songs of the United States'', together with William Francis Allen and Charles Pickard Ware. Early life Lucy was born in Philadelphia, Pennsylvania on October 30, 1842. She was a daughter of Sarah Allibone ( Speakman) McKim and the Rev. James Miller McKim, an antislavery lecturer and Presbyterian minister. Her younger brother was Charles Follen McKim, a prominent architect with the firm of McKim, Mead & White, and her maternal grandfather was Micajah Speakman of Chester County, Pennsylvania, whose home was a stop on the Underground Railroad. Poetry She traveled to the Sea Islands of South Carolina with her father in 1862 while the Civil War was still raging, serving as his secretary as he gathered information on the conditions for newly freed slaves for the Philadelphia Port Royal Relief Committee. This exposed her to the music of former slaves just after they had been fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Pickard Ware
Charles Pickard Ware (1840–1921), was an American educator and music transcriber. An abolitionist, he served as a civilian administrator in the Union Army, where he was a labor superintendent of freedmen on plantations at Port Royal, South Carolina, during the American Civil War. This included Seaside Plantation. It is here that he transcribed many slave songs with tunes and lyrics, later published in ''Slave Songs of the United States'', which he edited with William Francis Allen and Lucy McKim Garrison. It was the first published collection of American folk music. Ware was also an educator in Boston, Massachusetts. References *William Francis Allen, Charles Pickard Ware and Lucy McKim Garrison Lucy McKim Garrison (October 30, 1842 – May 11, 1877) was an American song collector and co-editor of ''Slave Songs of the United States'', together with William Francis Allen and Charles Pickard Ware. Early life Lucy was born in Philadelphia, ..., ''Slave Songs of the United States ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
